Additional Visual Effects: Capital T
Indiana Jones and the Dial of Destiny (2023)
Directed by: James Mangold
Cinematography by: Phedon Papamichael
Visual Effects Supervisor: Capital T
Terminator: Dark Fate (2019)
Directed by: Tim Miller
Cinematography by: Ken Seng
Edited by: Julian Clarke
Cameras: ARRI ALEXA LF Camera, ARRI ALEXA Mini Camera
Editing System: Adobe Premiere Editing System
Visual Effects Supervisor: Capital T
Ad Astra (2019)
Directed by: James Gray
Cinematography by: Hoyte Van Hoytema
Visual Effects Supervisor: Capital T
Avengers: Endgame (2019)
Cinematography by: Trent Opaloch
Cameras: ALEXA IMAX Camera
Editing System: Avid Editing System
Visual Effects Supervisor: Capital T
Avengers: Infinity War (2018)
Cinematography by: Trent Opaloch
Lenses: Angenieux Lenses, Leitz Summilux-C Series Lenses, Panavision APO Panatar Lenses, Panavision Primo 70 Lenses, Panavision Sphero 65 Series Lenses
Editing System: Avid Editing System
Visual Effects Supervisor: Capital T
Black Panther (2018)
Directed by: Ryan Coogler
Cinematography by: Rachel Morrison
Visual Effects Supervisor: Capital T
Captain America: Civil War (2016)
Cinematography by: Trent Opaloch
Visual Effects Supervisor: Capital T
Avengers: Age of Ultron (2015)
Directed by: Joss Whedon
Cinematography by: Ben Davis
Visual Effects Supervisor: Capital T
American Sniper (2014)
Directed by: Clint Eastwood
Cinematography by: Tom Stern
Cameras: ARRI ALEXA XT Camera
Visual Effects Supervisor: Capital T
22 Jump Street (2014)
Cinematography by: Barry Peterson
Cameras: ARRI ALEXA XT Camera
Visual Effects Supervisor: Capital T
Captain America: The Winter Soldier (2014)
Cinematography by: Trent Opaloch
Cameras: ARRI ALEXA Plus 4:3 Camera, Red Epic Camera
Lenses: Panavision ATZ 70-200 mm T3.5 Lens, Panavision AWZ2 40-80 mm T2.8 Lens, Panavision C30 35 mm T3.0 Lens, Panavision C35 35 mm T2.3 Lens, Panavision C60 60 mm T2.8 Lens, Panavision E100 100 mm T2.3 Lens, Panavision E135 135 mm T2.8 Lens, Panavision E180 180 mm T2.8 Lens, Panavision E35 35 mm T2.0 Lens, Panavision E40 40 mm T2.0 Lens, Panavision E50 50 mm T2.0 Lens, Panavision G100 100 mm T2.6 Lens, Panavision G25 25 mm T2.6 Lens, Panavision G30 30 mm T2.6 Lens, Panavision G40 40 mm T2.6 Lens, Panavision G50 50 mm T2.6 Lens, Panavision G60 60 mm T2.6 Lens, Panavision G75 75 mm T2.6 Lens
Visual Effects Supervisor: Capital T
The Host (2013)
Directed by: Andrew Niccol
Cinematography by: Roberto Schaefer
Edited by: Thomas J. Nordberg
Cameras: ARRI ALEXA Camera
Visual Effects Supervisor: Capital T
Iron Man Three (2013)
Directed by: Shane Black
Cinematography by: John Toll
Cameras: ARRI ALEXA Studio Camera, Phantom Flex Camera
Lenses: Angenieux Optimo 15-40 mm T2.6 Lens, Angenieux Optimo 28-76 mm T2.6 Lens, Fujinon Premier (HK4.7x18) 18-85 mm T2.0 Lens, Leitz Summilux-C 100 mm T1.4 Lens, Leitz Summilux-C 16 mm T1.4 Lens, Leitz Summilux-C 18 mm T1.4 Lens, Leitz Summilux-C 21 mm T1.4 Lens, Leitz Summilux-C 25 mm T1.4 Lens, Leitz Summilux-C 29 mm T1.4 Lens, Leitz Summilux-C 35 mm T1.4 Lens, Leitz Summilux-C 40 mm T1.4 Lens, Leitz Summilux-C 50 mm T1.4 Lens, Leitz Summilux-C 65 mm T1.4 Lens, Leitz Summilux-C 75 mm T1.4 Lens
Compositing Lead: SPI
Men in Black 3 (2012)
Directed by: Barry Sonnenfeld
Cinematography by: Bill Pope
Edited by: Don Zimmerman
Compositor: SPI
Green Lantern (2011)
Directed by: Martin Campbell
Cinematography by: Dion Beebe
Edited by: Stuart Baird
Cameras: ARRIFLEX 235 Camera, Panavision Panaflex Millennium XL2 Camera, Panavision Panaflex Platinum Camera
Lenses: Angenieux Optimo Zoom Lenses, Panavision PCZ 19-90 mm T2.8 Lens, Panavision Primo Anamorphic Lenses
Editing System: Autodesk Smoke Editing System
Compositor: Scanline VFX
Hereafter (2010)
Directed by: Clint Eastwood
Cinematography by: Tom Stern
Compositor: SPI
Alice in Wonderland (2010)
Directed by: Tim Burton
Cinematography by: Dariusz Wolski
Edited by: Chris Lebenzon
Cameras: Dalsa Evolution Camera, Panavision Genesis Camera, Panavision Panaflex Platinum Camera, Sony HDC-F950 Camera
Editing System: Avid Editing System
Senior Compositor: Frantic Films
G.I. Joe: The Rise of Cobra (2009)
Directed by: Stephen Sommers
Cinematography by: Mitchell Amundsen
Digital Effects Supervisor: R!OT
Blood Creek (2009)
Directed by: Joel Schumacher
Cinematography by: Darko Suvak
Edited by: Mark Stevens
Senior Compositor: RIOT
X-Men Origins: Wolverine (2009)
Directed by: Gavin Hood
Cinematography by: Donald McAlpine
Editing System: Final Cut Pro Editing System
Dfx Supervisor: R!OT
The Time Traveler's Wife (2009)
Directed by: Robert Schwentke
Cinematography by: Florian Ballhaus
Edited by: Thom Noble
Senior Compositor: RIOT
Jumper (2008)
Directed by: Doug Liman
Cinematography by: Barry Peterson
Cameras: Panavision Cameras, Red One Camera
Visual Effects Supervisor: Riot
The Burning Plain (2008)
Directed by: Guillermo Arriaga
Cinematography by: Robert Elswit
Edited by: Craig Wood
Cameras: Panavision Cameras
Digital Effects Supervisor: Riot
Hairspray (2007)
Directed by: Adam Shankman
Cinematography by: Bojan Bazelli
Edited by: Michael Tronick
Visual Effects Supervisor: R!OT
Live Free or Die Hard (2007)
Directed by: Len Wiseman
Cinematography by: Simon Duggan
Edited by: Nicolas De Toth
Lenses: Angenieux Optimo Zoom Lenses, Cooke S4/i Prime 21mm T2.0 Lens, Cooke S4/i Prime 25mm T2.0 Lens, Cooke S4/i Prime 27mm T2.0 Lens, Cooke S4/i Prime 32mm T2.0 Lens, Cooke S4/i Prime 35mm T2.0 Lens, Cooke S4/i Prime 40mm T2.0 Lens, Cooke S4/i Prime 65mm T2.0 Lens, Cooke S4/i Prime 75mm T2.0
Editing System: Avid Editing System
Visual Effects Supervisor: Intelligent Creatures Inc.
The Number 23 (2007)
Directed by: Joel Schumacher
Cinematography by: Matthew Libatique
Edited by: Mark Stevens
Visual Effects: R!OT
The Seeker: The Dark Is Rising (2007)
Directed by: David L. Cunningham
Cinematography by: Joel Ransom
Cameras: Panavision Cameras
On-set Visual Effects Supervisor: Intelligent Creatures
The Fountain (2006)
Directed by: Darren Aronofsky
Cinematography by: Matthew Libatique
Edited by: Jay Rabinowitz
Digital Fusion Artist: Intelligent Creatures
The Matador (2005)
Directed by: Richard Shepard
Cinematography by: David Tattersall
Edited by: Carole Kravetz Aykanian
Senior Digital Compositor: Intelligent Creatures Inc.
Confessions of a Teenage Drama Queen (2004)
Directed by: Sara Sugarman
Cinematography by: Stephen H. Burum
Edited by: Anita Brandt Burgoyne
Technical Imaging Artist: IMAX
The Matrix Revolutions (2003)
Cinematography by: Bill Pope
Edited by: Zach Staenberg
Digital Compositor
Power and Beauty (2002)
Directed by: Susan Seidelman
Cinematography by: Derick V. Underschultz
Digital Compositor
Formula 51 (2001)
Directed by: Ronny Yu
Cinematography by: Hang-Sang Poon
Edited by: David Wu
Cameras: Moviecam Cameras
Digital Compositor
Going Back (2001)
Directed by: Sidney J. Furie
Cinematography by: Curtis Petersen
Edited by: Saul Pincus
Digital Compositor
Hedwig and the Angry Inch (2001)
Directed by: John Cameron Mitchell
Cinematography by: Frank G. DeMarco
Edited by: Andrew Marcus
Digital Composites / Opening Title Composite
Ginger Snaps (2000)
Directed by: John Fawcett
Cinematography by: Thom Best
Edited by: Brett Sullivan
Digital Compositor
The Hurricane (1999)
Directed by: Norman Jewison
Cinematography by: Roger Deakins
Edited by: Stephen E. Rivkin
Lenses: Cooke S4 Lenses
Digital Film Compositor
Dick (1999)
Directed by: Andrew Fleming
Cinematography by: Alexander Gruszynski
Edited by: Mia Goldman
Digital Artist
Tail Lights Fade (1999)
Directed by: Malcolm Ingram
Cinematography by: Brian Pearson
Edited by: Reginald Harkema
Optical Cameraman
The Red Violin (1998)
Directed by: François Girard
Cinematography by: Alain Dostie
Edited by: Gaétan Huot
Optical Cameraman
Bone Daddy (1998)
Directed by: Mario Azzopardi
Cinematography by: Danny Nowak
Edited by: Dean Balser
Optical Cameraman
Cube (1997)
Directed by: Vincenzo Natali
Cinematography by: Derek Rogers
Edited by: John Sanders
